Stardoc, the first in her series, was illustrated by Daniel ‘Donato’ Giancola (b. 1967). On his own website, Donato describes his ‘love of fine oil painting’ and lists Jan van Eyck, Velazquez, Rubens, Titian and Rembrandt among his favourite artists. He consistently produces high quality work and has won three Hugo ‘Best Professional Artist’ Awards – in 2006, 2007 and 2009.]]> S. L. Viehl]]> Book covers]]> Deathbird Stories consists of pieces collected over ten years and is considered one of his best. With a reputation for being difficult, Ellison was fired by the Walt Disney Company for joking about making a Disney ‘porn’ on his first day of work. The cover art for Ellison’s Stories by Diane and Leo Dillon is a great example of the Dillon's 'vibrant’ and ‘sometimes semi-abstract’ work.]]> Harlan Ellison]]> Book covers]]> Diane and Leo Dillon, both born in 1933, are described by di Fate as a ‘divinely gifted couple’. They have worked side by side for over 50 years, illustrating not only SF titles but also many children’s books. They designed covers for A.A. Milne, Algis Budrys, ee cummings, Frederick Pohl, James Blish and most notably Harlan Ellison (b.1934). This is one of their covers for Bob Shaw's The Palace of Eternity.]]> Bob Shaw]]> Book covers]]> Vincent di Fate (b. 1945) illustration for Offutt and Berry’s Genetic Bomb echoes the book’s content, ‘Beautiful girls are going mad – writhing in pain and ecstasy as they live through hallucinations of a world-consuming conflagration…’.]]> Andrew J. Offutt and D. Bruce Berry]]> Book covers]]> Manseed, was illustrated by Jim Burns (b.1948) a Welsh illustrator. Trained in Wales and London, Burns’ work is described as ‘photorealistic’ and ‘erotic’. Burns has a strong fanbase in the UK and the US and has won the Hugo Award for Best Professional Artist twice.]]> Jack Williamson]]> Book covers]]> Vincent di Fate’s Infinite Worlds: The Fantastic Visions of Science Fiction Art was the inspiration for the ‘art focus’ of this exhibition. This April 1977 Analog cover is one of over 50 illustrated by di Fate (b. 1945) and accompanies George R. R. Martin’s first instalment of his first novel After the Festival, and later called Dying of the Light.]]> Editor (Ben Bova)]]> Magazine covers]]> Howard Vachel Brown (1878-1945) was one of the ‘Big Four’ SF illustrators of the 1930s which included Leo Morey, Frank R. Paul, and Hans Wessolowski (‘Wesso’). Born in Kentucky, Brown studied at the Art Institute of Chicago and in 1906 moved to New York City, working as a teacher and freelance illustrator. He was the sole cover artist for Astounding Stories from October 1933 until the end of 1936. When John Campbell became editor of Astounding in 1937, Brown was ousted as Campbell wanted to pursue a different artistic direction. Brown has been described as a ‘dramatic’ and ‘versatile’ artist and he specialised in BEMs – ‘Bug-eyed monsters’. Salive paid $119 (US) for this magazine which originally sold for 20 cents.]]> Editor (F. Orlin Tremaine)]]> Magazine covers]]> Bob Eggleton.]]> Editor (Stanley Schmidt)]]> Magazine covers]]> Analog magazine from the TakeNote bookshop there. The cover is an example of Bob Eggleton's artwork.]]> Editor (Stanley Schmidt)]]> Magazine covers]]> Dean Ellis (1920-2009) drew four covers for Analog and his work is described by Vincent di Fate in Infinite Worlds as having a ‘direct, posterized approach’. Mack Reynolds’ serialised story, Of Future Fears, appears in this edition of Analog. Reynolds (1917-1983) was a prolific SF author, penning over 60 novels, numerous short stories and several non-fiction books during his career from the 1950s until his death.]]> Editor (Ben Bova)]]> Magazine covers]]> Dean Ellis (1920-2009) came to prominence in the SF art world in the 1960s after illustrating a Ray Bradbury book series published by Bantam. Flagged in 1950 as a promising young artist, Ellis also worked in advertising illustration and stamp design. This Robert Hoskins' volume is an example of his work.]]> Robert Hoskins]]> Book covers]]> North and South trilogy, chronicling the American Civil War, was made into three mini-series starring Patrick Swayze and James Read. The Planet Wizard, the second book in a trilogy, is one of Jakes’s many SF titles. The cover art is by Alex Ebel (1932-2013). Not much is known of Ebel, but he has illustrated works for some SF greats: Asimov, Brian Aldiss and Ursula Le Guin. He also drew the poster for the 1980s horror movie Friday the 13th.]]> John Jakes]]> Book covers]]> Bob Eggleton (b. 1960), has a fondness for drawing monsters, especially Godzilla. He usually works with acrylics and an airbrush to produce his colourful artworks. He depicts James H. Schmitz’s protagonist, Trigger Argee here, as she is described in the book – ‘slim, tanned, red-haired’. However, what Eggleton cannot portray is Trigger’s ‘psionic’ powers – her ability to use her mind as a weapon]]> James H. Schmidt]]> Book covers]]> Bob Eggleton.]]> James H. Schmidt]]> Book covers]]> Bob Eggleton.]]> James P. Hogan]]> Book covers]]> Bob Eggleton.]]> James H. Schmidt]]> Book covers]]> Jack Gaughan.]]> Editor (Ben Bova)]]> Magazine covers]]> Jack Gaughan.]]> Edward E. Smith]]> Book covers]]> Jack Gaughan.]]> John Brunner]]> Book covers]]> Jack Gaughan (1930-85) is described by Vincent di Fate in Infinite Worlds as a ‘great conceptualist’. While his style wasn’t as polished as some SF artists’ work, Gaughan was able to capture the essence of the story within. He was a SF fan from childhood and greatly admired the SF artist, Hannes Bok (1914-64), who later taught him. With the publication of Jack Vance’s novella, The Dragon Masters, in 1962, Gaughan shot to fame for his cover and interior art for the story. He won Hugos for Best Fan Artist and Best Professional Artist in the same year, 1967. Gaughan illustrated covers for some of the greats: John Brunner, Samuel R. Delany, and E. E. ‘Doc’ Smith.]]> Samuel R. Delany]]> Book covers]]> Frank Kelly Freas.]]> Doris Piserchia]]> Book covers]]> Frank Kelly Freas.]]> Roger Lovin]]> Book covers]]> James Francis Graves Gladney (1907-76) painted almost 300 covers in his career and his first published illustration appeared in Fortune Magazine (1936). Gladney’s covers were ‘realistic’ and usually echoed the action from within the story. His father started the 7-UP soft drink company and upon his death Gladney inherited the hugely successful company with his siblings. L. Ron Hubbard’s The Ultimate Adventure is just one of the pulp stories he had published in the 1930s. Hubbard (1911-86) is more famous for establishing the ‘religion’ of Scientology in the early 1950s. Scientologists believe that ‘Xenu’ – an alien – brought millions of people to Earth 75 million years ago and that humans are ‘thetans’ – ‘immortal alien spiritual beings’. This is a SF story of its own!]]> Editor (John W. Campbell)]]> Magazine covers]]> Astounding magazine looks eerily like the artist who drew it, Frank Kelly Freas (1922-2005). Freas enjoyed a fifty year career in SF illustration, producing work for Weird Tales, Planet Stories, Astounding/Analog and MAD magazines; countless paperback covers; the patch for the NASA Skylab program in 1973; the cover of the band Queen’s 1977 album, News of the World; and even a werewolf’s portrait which appeared in the movie, Harry Potter and the Prisoner of Azkaban (2005). Described as the ‘Dean of Science Fiction Artists’, Freas won the Hugo Award for Best Professional Artist ten times. Upon his death in 2005, his memorial service was held at the Church of Scientology’s Celebrity Centre in Hollywood.]]> Editor (John W. Campbell)]]> Magazine covers]]> The Best Rootin’ Tootin’ Shootin’ Gunslinger in the Whole Damned Galaxy (1983).]]> Tom Hallman]]> Acrylic paintings]]>